C-Major

Friday, November 6, 2009

The project this time was actually a bit tough for the CG guys. Computer related accidents slowed down the process and it ended up to be quite a race against time in the end. I'm not a specialist in terms of CG, but I know that making a CG movie is insanely time-consuming. I was surprised ...or shocked I should say :) by how fast the team worked in the final week of the project. Incredible! And so rewarding... because:

We got the TEAM MASTER AWARD!!

If this isn't cool, what is!?

Here is the link to the result announcement at CG Society. Click here!

...and here is the completed piece in HD :)

The background story:

Agent Omicron

Aging International Superstar Steve Camembert stars in the 80's classic Japanese spy show "Agent Omicron"While not popular outside Japan at the time, the show has gained cult status in the United States and Germany.The Fans or "Cronys", as they call themselves are drawn to its campy fun and exploration of almost precient Sci-fi concepts. The ethics of cloning, genetic manipulation, nanotechnology and robot/human hybrid rights were common themes featured on the show.An other star of the show was Japanese American actress Aiko Givewell. She played Omicrons Techy sidekick and had quite a following among the younger male audience. in the second last season her character in the series greatest twists, turned sides and became the main antagonist.After the cancellation of Agent Omicron Ms. Givewell stared in a very short lived spinoff.The last stand out cast member was Thud Thompson. He was a Worlds Strongest Man Champion from Sweden. He dreamed of being the Swedish Arnold Schwarzenegger. Agent Omicron was his only acting job.

One other contributing factor of the alure of the show was the mystery surrounding the death of its star. Steve Camembert killed while filming a spectacular stunt for the series final episode.An early edit of the show was said to have put together but it was never aired. For the "Cronys" finding this episode is the holy grail.In early 2008 it was rumored that Michael Bay was in talks to tale Agent Omicron to the big screen. He was quoted saying that he wasn't interested in making another stupid Japanese movie for kids. So for now Agent Omicron and his crew of super spies will only live on in decaying VHS tapes and Youtube...

...And this is the making of:

It was incredibly fun to work on this project. That's definitely a team I'd love to work with again. And who knows? Maybe we will... in one of the upcoming Challenges at CGSociety or somewhere else...?

Thursday, November 5, 2009

Life's been a bit hectic recently, and I didn't get to write this entry, which should have been up here like 2 months ago!

Anyways, so this is the last one in the CG Challenge Secret Agent series.

After having finished the tune, my brother asked me: "uh, we kind of need a tune for the making-of sequence. Can you put together something nice based on the main tune? Something jazzy would be cool :)"

Yeah, that's the kind of thing that tends to come towards the end of a project, right? 2 days until the deadline and we run into new ideas :)

So I sat down and slapped together a jazzy version of the main theme I composed. Here's the output:

Since there was no time, the drum pattern is a copy&paste job as is the walking bass. I just made sure that both drums and bass don't sound to synthetic, tweeking around with velocity values and adding dead notes etc.

The piano and guitar part is played in realtime, with some additional MIDI note adjustments and quantizing here and there, but I wanted to preserve an "organic" feel to the tune, so I tried to keep the recorded material as natural as possible.

The tune only needed to be a minute long, so you will notice the repetition in the second half (in the final video, the music fades out).

The guys were happy as was I, and we finally, finally made it!! Just in time.

Sunday, September 6, 2009

In the previous (third) draft, I replaced the synth lead sound that played the main melody with a saxophone sound taken from AMG's Kick-Ass Brass library. I also added some brass tracks to the intro to build up some tension.

To be honest, I wasn't 100% happy with this last version. Although the sax in the melody sounds quite authentic, it was somewhat weak sounding and not strong enough to dominate the tune. But since that's just my limited opinion, I sent it to my brother's team anyways to see what they think.

Well, they shared my opinion haha.

So we decided to give it a try using the VL70-m synth. Even though it's not using any samples at all, its physical modeling synthesis is still pretty good. Combined with a breath-controller, it does sound solid. So I went with the motto "let's hope it'll sound good enough as a main melody track! "

On top of that, they needed the brass tracks out of the intro. It was too dominant that it dictates the mood, limiting the options when it comes to creating the visuals. That's something I couldn't forsee, but it made sense. Since the production on the visual side was still developing it was better to keep the music more neutral. Also, my brother liked the sudden change to the main theme as opposed to the rather smooth transition I had made in the third draft.

So my tasks for the final version were set:

Remove the horns from the intro

Make the transition to the main theme more sudden

Replace the main melody with a VL70-m Sax sound (in hopes it'll work out OK)

The other "polishing" tasks I had pending were:

Add details to the bass track (string noise, dead notes etc)

Sync the rhythmical patterns of the E-piano with the drums and the bass

Edit the drum breaks to sync with the horn riffs and other fills

Replace the guitar tracks with a real performance

Mixdown everything

I had asked a guitarist friend of mine to play the cutting patterns and the solo for me. Synth guitars just don't compare to a real performance. At least the guitars in my hardware synthesizers just don't do it for me :)

And it got good!

Here's the final version:

A virtual sax can sound pretty good, huh?Well, of course a real saxophone would always be better, but for this time anyways, I'm pretty happy with the outcome. My brother and his team were happy too :)

And many thanks to guitarist Yuya Haraguchi, who laid down some awesome guitar tracks!

As for the project, the animated visuals are still in works. Can't wait to see the final result!

Saturday, August 15, 2009

After the second draft, my task was to merge it with the first draft. That wasn't a big issue, since I had that in mind while I was writing the second draft :)

The other request I got was to change the instrument that plays the main melody. So far I had been using a Synth Lead sound, but we came to the conclusion that a saxophone would be a better fit.

The problem was that I didn't have any sax-players around me who could record the melody track, and synth-saxes are only so-so when it comes to taking the lead part in a song...

The closest I had to a real saxophone was (a) AMG's Kick-Ass Brass, which by the way has become my absolute favorite Brass synthesizer, or (b) my Yamaha VL70-m sound-module.

Kick-Ass Brass sounds just awesome (as you can hear in the drafts already), but as a solo part it may be a bit weak. Well, partially probably because I don't have the skills (yet) to really bring it to life.

The VL70-m module is cool too, but I was afraid to use it for the main track for the same reasons: it may not sound convincing enough...

I decided to go with the Kick-Ass Brass solution, since it's using samples from real instruments as opposed to the VL70-m which is "merely" simulating instruments.

So here's the output. Draft number 3:

In addition to replacing the melody track with a saxophone, I also tweaked the intro a bit by adding brass tracks to build up some tension towards the main theme. That was a mistake as I saw from the reaction I received when I gave it to my bro haha!

Wednesday, August 5, 2009

The first draft was well received. Yay! It's good to know I was able to create the desired mood. There were some extra requests here and there which I needed to incorporate.

It's kind of difficult to convey in words how a tune is supposed to sound. So people would tell me stuff like "it should sound darker" or it could have "more action" in it. My task is to interpret this and convert it into notes. I think it heavily depends on the person describing the music, how well or easily it can be turned into actual music.

Anyways, my brother wanted the intro to be a bit calmer and maybe more mysterious. So that was one thing to take care of. Since there is still time, I also came up with a slight variation of the first draft. The overall direction was already OK, so I played around with the chords and tried to provide an alternative idea. Just to see how it would be received. Who knows? Maybe the second idea is even better than the first one!

So here's draft number 2.

As you can hear, the intro has been changed completely and the main part has a different chord structure and a different melody. I took the theme from the first draft and moved it into the B part of the new draft.

This version was well-received too, and the intro was pretty much what they were looking for, but for the main theme, my brother and his team opted for the initial idea. So my next task was to merge the intro of the second draft with the main part of the first draft.

Tuesday, August 4, 2009

Recently, my brother and his team decided to participate in a CG Challenge at CGSociety. Now, I'm not doing anything CG-related, but since this time the challenge subject was a video, they needed some background music. So my bro asked me if I felt putting together a tune for it. I DID feel like putting together a tune and so I hopped on board.

The instructions of the challenge say:"This challenge asks you to render a scene of secrecy and espionage. Depict a scene of a secret agent in a binding circumstance. Are they caught in an ingenious trap by an evil genius? or about to bring down an enemy base? Show us cunning devices, subtle disguises, and really cool cars."

...so I had some e-mail exchanges, Skype conversations and chats with my brother, and we were able to share an understanding of what the atmosphere should be like. Initial sketches and images gave me an idea of how the music could sound.

The guiding keywords were:

Time period: late 70's - early 80's (?)

Lots of action

Not dead-serious. Comedy elements are included

cartoon / comic book style, rather than realistic characters

In addition to the rough sketches I had seen, I was given an animatic (a rough draft animation) depicting the first seconds of the animation. Based on this, I put together an audio draft.

Here it goes:

The best part are the horns haha. For the first time I used AMG's Kick-Ass Brass VSTi. Pretty awesome sounding. You don't get that from a hardware synth. I'm really happy with its quality, it was worth the purchase.

But anyways, my bro and his team were pretty happy overall. The only thing they wanted to have changed was the intro. It should be more mysterious and calmer.

OK, no problem, that's what drafts are for. So I sat down to come up with an alternative version...

Monday, May 11, 2009

First I had to move to a new place, then I had a concert, family gatherings etc... Too busy to do anything! Since last week the dust is settling finally, so I took the time to finish a little tune I promised to create for my brother. He's putting together a video and he needed some old style ragtime-like music that would fit into a black and white slapstick movie.

I searched YouTube for some Charlie Chaplin footage in hopes to find some hints, since I've never really written anything like this before. And YouTube is really helpful in that sense, you just find ANYTHING. I found some videos that gave me a rough idea of the general tendency in terms of instrumentation and orchestration. From there I came up with 2 themes which I used as a base for further arrangements.

So here's the completed song. I called it "The Good Old Days"

As opposed to other works, this time I didn't have to worry about clear sound quality. Of course I needed to make it sound right, but in this case my goal was to give it an antique, vintage sound. That meant: No beautiful reverb, but instead vinyl noise and random (slight) pitch shifts.

In order to "simulate" the speakers of an old record player (or phonograph), I also played around with the EQ (enhancing mid frequencies, cutting lower frequencies).

Given that I didn't need high quality sounds, using Steinberg HALion Symphony Orchestra seemed like overkill, but I realized that even with reduced sound quality, the articulation of each instrument is still audible (especially with instruments playing the lead melody), so I used HSO for some of the major tracks in this sequence. The remaining instruments come from the MOTIF ES.